Tag: Beijing

The Performance of Identity​ and One Man’s Orchestra – 1st March 2011

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Cat #: 050TZM

He Guoheng, known in the world of music as Xiao He, is one of the most creative and influential artists in the Beijing music scene. Besides his recordings and his solo and ensemble music performances, he is active in drama, writes incidental music, and is a creative force in the underground movie industry. He is also the head of Maybe Horse, a Maybe Mars sub- label dedicated to supporting and developing Beijing’s and China’s most innovative folk and ethnic musicians. 

At the same time Xiao He, which is the alias he settled on for his folk and improvised music performances, played guitar, drum and accordion at River, a legendary old Beijing folk bar. Between these two projects Xiao He quickly developed a serious following among artists and music fans in the China music scene. In 2003, Modern Sky, China’s largest independent label, released his first CD, a live recording called “The Bird that Can Fly High Landed on the Cow that Can Run Fast”. Almost immediately this was received as one of the most important recordings in contemporary Chinese music. 

Except for a very few special performances with Glorious Pharmacy, today Xiao He only plays solo performances. Calling these multi-faceted improvised performances “Free Folk”, as much to express his anarchic playfulness as to suggest the total freedom which he approaches musical instrumentation, vocal performances and stylistic experimentation, he has become the inventor of a deeply weird and immensely moving style of music, mystical and surreal, which abruptly veers from the plaintive cries of Mongolian or Western Chinese music to the barbed and sometimes childlike humour of the avant garde. Complementing his stylistic creativity is a wholly unique way of playing acoustic guitar, loops, synthesizers and any other instrument that catches his fancy. 

After his 2009 European tour, Xiao He released his second album in China with Maybe Mars. Consisting of improvised live and studio performances and two separate CDs the new album is a milestone for Xiao He. The live CD is based on 30 hours of recordings going back three years, which he has assembled as his “Personal Symphony” and, selected from six different shows, focuses on the irreversible and unrepeatable character of live performance. The other CD was recorded in his studio and focuses on the quality of the sounds and experimentation with the recording process and juxtaposes thousands of ways of combining vocal sounds with the sound of his guitar as he wrestles with and reinterprets his understanding of Minimalism. 

Guai Li – Flight of Delusion – 1st March 2011

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Cat #: 051TZM

Taken from a well-known Confucian saying, “Guaili luanshen”, the band’s name refers to weird forces and unexplainable supernatural phenomena. Though Confucius never advised the public to blindly believe in unexplainable weirdness, the band certainly does – they have created sufficient levels of oddity and discomfort in their music and sing highly of it. 

In their much-anticipated debut album, Flight of Delusion, this twisted sense is heard not just in the grammatical chaos but also in the complex music arrangements. 

As a double-guitar band, Guaili is renowned for its daring spirit in musical structure and in this album, they’ve proven a maturing ambition to master the tools of their trade by playing multiple guitars and drums in a single piece. To top that off, they have also shaken up a stunning mixture of celesta, electronic keyboard and artificial industrial noises. But there is more depth than even critics will be aware of. A 20-Hertz sound wave, lower than the frequency that humans can hear, has been added into the tracks to provoke alpha brainwaves and stimulate creativity.

Joyside – Maybe Tonight – 28th February 2011

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047TZM

After a short break Joyside have released their final e.p. – a double disk with 6 new songs and a dvd – a documentary of their 2007 Europe tour.

Beer, cigarettes, hormones, pogo, restless, out of control, sorry…these words have appeared more and more often in the dictionary of cult youths. Vintage guys are everywhere in Gulou street and the girls who come to watch the show keep changing but Joyside still cannot be copied. 

Neon, polka dot, gorgeous peony, aurora over the city – the design of the new e.p. shows perfectly the temperament of the new Joyside – romantic, psychedelic, enchanting, beautiful with sorrow. Joyside desperately prays for the nice things in this new e.p. but sometimes, the dreams are disillusionment.

Joyside has really changed. Their music is no longer the weapon for resistance but the media to convey emotions. As a result, the melody is more fluent and the composing is more fruitful. 

Singer Bian Yuan keeps saying that life is meaningless. Humanity is meaningless. No light, no hope, cold, hard…..these are his usual expressions. But on the other hand, maybe these mean he has a shy and anxious desire for the warmth, light and love! The philosophy of Joyside is contradictory and repeating. They express love by chaos and break, or express despair by sweet and romantic. ‘The Last Song for the Endless Party’ will make you consider what a scene it could be? The last song for the endless party, the last kiss for the endless love. Life is short. We don’t know whether to live happily or to die sadly. 

Joyside – Booze at Neptune’s Dawn – 1st February 2011

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Cat #: 044TZM

Considered by many to be China’s greatest underground band, Joyside was formed by Xinzhiang refugee Bian Yuan in 2001, in a dark dank basement in the north of Beijing. After three years of playing small clubs in Beijing, literally for beer and cigarette money, they lazily released their debut album, Drunk is Beautiful, whose name comes as close to expressing Joyside’s ferociously decadent aesthetic as any three words can – they consider themselves to be bitches of rock ‘n’ roll, addicted to the music and the mad posturing of the pre-punk New York scene. 

The band consists of Bian Yuan on lead vocals, Liu Hao on Bass, Guan Zheng on percussion, and on guitar an astonishing young guitarist, Hong Wei, who was featured in a 2007 Rolling Stone article as one of the four most important guitarists in China. Along with their work in Joyside, the band members are actively involved in other projects. Both Bian Yuan and Liu Hao are members of Johnny’s Teeth, and Liu Hao also plays for Dog 13. Guan Zheng performs regularly with Linga and Believers, while Hong Wei has performed in number of one-off and experimental shows throughout Beijing. Bian Yuan’s acoustic performances are a mainstay at the famous Wednesday night Punk on Wood series at Beijing’s D22 club. 

It is hard to go to a Joyside show without ending up drenched in sweat – they rock ferociously and in the great tradition of outlaw rock they turn every audience into frenzy, especially as Hong Wei’s intelligent, subtle guitar playing suddenly breaks into a nasty, ugly crunch and twists around Bian Yuan’s singing. There are influenced by the full gamut of rock and roll history, completely at home with the early American rockers, the Mods, or the seventies punk scene, with particular influences being the Dead Boys, New York Dolls, Johnny Thunders, Sex Pistols, and the Stooges. 

Tone Deaf in the Public Kingdom – 10th September 2010

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Beijing indie punk band P.K.14 were invited to play at the Melbourne Festival and I was to be their man on the ground. The festival covered their travel expenses and two nights in a hotel but I planned an extra show and some free time with them.

As part of the promotional push for them, singer Yang Haisong did this email interview with Tone Deaf magazine.

P.K.14 play Melbourne Festival Oct 22nd 2010

We’d like to know a little bit about you for our files, however, we don’t like regurgitating press releases or asking the easy questions. No one gets out of the Tone Deaf Interrogation lightly, so just hold still, grit your teeth, clench your buttocks and be still while we put on the rubber gloves, apply the thumbscrews, and pull out our thermometer while you open up and say ahhhhhhhhhhh… Truthful answers only or we drink your rider while you’re on stage.

Lead singer Yang Haisong from Chinese band P.K14 answers our questions.

We don’t want to know about the bands your press release says you’re influenced by. Take us back to your bedroom when you were 14. What band posters did you have on the wall?

When I was 14, most of music around us are propaganda songs and love songs from Taiwan and Hong Kong singers. I don’t like them both. No any chance to listen western rock music or get posters from stores. So I didn’t have any poster in my bedroom.

What’s been your worst gig and why are you glad there’s no footage of it on Youtube … yet?

I don’t really remember which gig are the worst. I would say the very first gig that P.K.14 played 13 years ago was so bad. We played 4 songs, I sang all the songs out of key, and my legs shacked all the time in front of hundreds of university students. But at the same time, It’s the best gig to me. I hope I can see the show on Youtube but seems nobody shot it.

Tomorrow’s payday, so we’ve only got $A20/$US18/£14/€10 to get you drunk. Where do we go and what do we buy with it?

I have no idea about it. I didn’t get drunk quite long time. Maybe you can take me to some local 2nd hand records stores? I am gonna get drunk even no alcohol there.

What releases have you put out? Are they million sellers or do you still have a few boxes of them sitting gathering dust under your bed?

We put out 4 albums so far. And none is million-seller. Most of people like all the love songs and kind of Chinese idols, Unfortunately, we didn’t play love songs, and are not idols neither.

Suppose we put a gun to your head and force you to kiss a member of another band. Who, which band and why?

Billie Holiday. I think you know why.

You’re touring Australia. We know how much visitors are afraid of our native animals, so what is your greatest fear? Getting attacked by a) a snake b) a redback spider c) a bluebottle jellyfish d) a crocodile or e) a venomous drop bear?

Snake is my nightmare, worst ever.

P.K14 play at The Forum on Fri 22nd October, as part of Melbourne Festival’s Beck’s Festival Bar. Tickets are $20. Find out more info on the Beck’s Bar website, or visit Ticketmaster for tickets.

24 Hours – No Party People – 1st April 2010

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Cat #: 040TZM

24 Hours are one of the most intelligent newcomers in China’s rock scene. Hailing from Xi’an, one of the four great ancient capitals of China, they create, in their own words, passionate rock and roll. Their music is often the reflection of the relationship among the three members: constantly-changing but always-intense. 

After relocating to Beijing in early-2008 they quickly dove into the city’s challenging sonic environment, becoming one of the city’s most prolific bands by playing several gigs per weekend, developing both a devoted following and attracting local media in the process. 

After two years together, the band released their debut album No Party People produced by Martin Atkins (PiL, Pigface, Nine Inch Nails) the famed Chicago-based producer who initially cut his teeth in Beijing producing Snapline’s debut LP, Party is Over, Pornstar. Using his unique style to capture both the rough and fresh feeling of their music, Atkins has succeeded in elevating their sound to an international level. The 8-song effort maintains the fury of their live sets while adding a dreamy sonic dimension awash in subtle nuances.

26th Feb 2021 – Another one of my dumb ideas – to release 4 new (to Australia) albums on the same date (see White, Snapline and AV Okubo). At least this time I just imported 100 copies of each from China, rather than pressing 500 of each in Australia.

White – White – 1st April 2010

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China’s experimental music scene spreads it’s wings. Beijing’s White play SXSW. 

Formed by Shou Wang and Shen Jing, White has quickly become one of the most acclaimed outfits in the new Beijing music scene. White’s sound is ever evolving, spiralling outwards from the core stars of noise and minimalism to take in everything from the phase patterns of Steve Reich, the atonal chords of Glenn Branca, Throbbing Gristle’s aggressive electronic shimmer, Neubauten’s rhythmic invention, and the gu zheng masters of Chinese classical music. Their pieces can range from highly organized agglomerations of atonal chords that have an almost rock and roll ferociousness, to a completely anarchic attack of weirdly syncopated drum sounds derived from a chance encounter with old furniture or a dysfunctional machine. 

Shou Wang, who plays guitar, organ, toys, analogue pedals, drums, and effects, is a founder member of the Chinese new music movement ‘No Beijing’ and is the guitarist/vocalist for Beijing noise band Carsick Cars. Despite his extreme youth he is considered at the very heart of the new generation of Chinese avant-garde musicians, in 2006 flying to New York to take part in Glenn Branca’s famous No.13 recording “Hallucination City” for 100 guitarists. 

In 2005 he formed White No.1, a septet that paid tribute to the early work of Glenn Branca, and White 2J, in which he played keyboards. Finally he and Shen Jing, who had been admirers of each other’s music from afar and who shared the same passion for New York noise and kosmiche rhythms, formed White as an outlet for their more avant garde tendencies. 

Shen Jing plays analogue synth, drums, percussion, sampler, vocals, tape manipulation, and effects; she has been deeply immersed in Beijing’s music scene since 1998, participating in the vibrant explosion it has undergone in recent years. Until 2006, she was the drummer in Beijing indie/punk legends Hang On The Box, but since 2003, her work has increasingly demonstrated her own unique form of cosmic industrial noise. 

Snapline – Party Is Over, Pornostar – 1st April 2010

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Cat #: 038TZM

Snapline have become Beijing’s fastest rising young band and recently they have taken on an identity all of their own, earned full page interviews in the local media and released their first 7” single in the US. 

When producer and ex-PIL drummer Martin Atkins came to Beijing to check on the local scene, he was delighted with dozens of bands, but wholly awestruck by Snapline’s uniquely weird melodies, and immediately insisted on producing their first CD. Within weeks they had laid down the tracks in Beijing and over the next few months began the mixing process in Chicago, at one point flying vocalist Chen Xi to Chicago to add additional tracks. 

As snippets of the recording filtered through the scene in China, the band’s shows started drawing larger crowds, and they soon began to develop a very strong following. A series of concerts at D22 established them as one of the central bands in the scene, much loved by critics and musicians, although difficult at times for audiences to follow. 

The subject of many articles in the Chinese press, the band was listed in That’sBeijing as one of the ten best bands in China and in an article in Rolling Stone Li Qing was listed as one of China’s four major guitar innovators.

Music Feeds – 25th November 2008

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http://musicfeeds.com.au/music/2351/tenzenmen/

From local Sydney music press Music Feeds. We only seem to be on a surname basis tho – pretty appropriate considering the Chinese releases 🙂

By James Armstrong

Starting out as a noise project some 15 years ago, tenzenmen has evolved to the point where Hemsley is now using it as a catchall umbrella for all of his ‘crazy schemes’. With a motto of “do something”, Hemsley has involved himself heavily in the DIY scene for many years, helping not only local bands, but international acts find ways to circumvent the standard tour circuit and take the road less travelled.

With his roots in the late 70’s and early 80’s punk scene in the UK, Hemsley grew up with the DIY ethos. When he began taking a larger role in the Sydney underground, it was natural for him to explore the option of warehouse and arts space shows, where actually putting on a good show took precedence over making money.

In the past, Hemsley has brought out bands from Southeast Asia, but with his keen interest in Chinese history and culture, it was natural that tenzenmen would become involved with something from that region (though Hemsley says that he plans on continuing to work with SE Asian bands).

Having travelled to Beijing on several occasions and made friends with bands at local club D22, Hemsley became fascinated with the vitality of the emerging music scene in China.. Part of this scene was a record label started as an offshoot of the D22 club, Maybe Mars, which tenzenmen now licenses for release in Australia.

With the release of the Maybe Mars series, tenzenmen is exploring the world of underground Chinese music, ranging from melodic hardcore with English lyrics to noise rock sung in the band’s local dialect. The ambitious scope and variety of this project is nothing new for Hemsley, who has been running a wide variety of music-related projects as a labour of love, with no thought of material profit.

With minimal help from the media, the Maybe Mars series and, indeed, tenzenmen, are focused on getting the word out on the street, building a catalogue and seeing what will happen.

“I have every confidence in the music I’m releasing so feel it could just be a matter of time before people’s curiosity is piqued and they start investigating,” says Hemsley.

Hemsley goes on to say that the goal of these releases is just to get some great music out for people to enjoy, and to contribute to something bigger, in a holistic sense.

With the difficulty of getting the Maybe Mars bands over to Australia to tour (it’s hard to get a visa and there are some insane ‘money in the bank’ requirements to guarantee that the bands will actually head back to China at the end of their tour), for the time being, the best way to hear this music is to grab a copy of one of the releases, which have faced their own difficulties in being released in their homeland.

“For any artist in China wishing to release a CD, lyrics must be submitted to the government for approval. I believe this is a requirement from the CD factories to protect them against possible closure for inappropriate material. However, considering these restrictions, some of Demerit’s lyrics are quite critical of life in China, and other bands can cleverly conceal other meanings in more poetic lyrics (PK-14, in particular, are well respected among the more scholarly kids in this sense),” explains Hemsley.

With a new release coming out every six weeks, get in on this – it’s vital, with a spark that may be enough to reinvigorate the most jaded ‘punk.’

“In the West, we already have a historical rebellious musical background to draw upon.  China has just discovered all this music – and all at once.  So influences can be drawn from many different fields and filtered through into what are hopefully new and exciting sounds. Bands like Mafeisan and Muscle Snog are really pushing boundaries even on Western terms.”